Cartography booklet itunes by DOTDOTDOTMUSIC

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The Cartography Time,spinnrade, Davíð Brynjar Franzson (2016) gretchenofam Eric Wubbels car·tog·ra·phy • the Goethe/Schubert’s science or practice of drawingGretchen maps.

(2016)

at the spinning wheel

of (“Meine Ruh’ ist hin / Mein Herz schwer”) but • expressing the relationship between a part and aist whole. • expressing the relationship between a scale or measure and a value.

also the wheel of karma time (Bhavachakra) • the indefinite continued progress of existence and events in the past, present, and future regarded as a whole. turning of cause and effect ‘Howcompulsive is it possible that one should time?and For theaction past cannot be measured, as it is goneand by; andcycles the futureof can’t be measured loops ofmeasure thought repetitive behavior history because it has not yet come. And the present can’t be measured for it has no extension.’ (Wittgenstein)

––––––––––––––––––––––––––––––––––––––––––––––––––––– A manic, hounded piece, alternating relentless motoric circuits with plateaus of regular, “idling” motion.

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“Trailblazing” cellist Mariel Roberts (Feast of Music) is widely recognized as a deeply dedicated interpreter of contemporary forRecent Mariel Roberts,have collaborator of for many years, flair theand intensity total(American commitment of whose playing continues to amaze me. music. performances garnered praise her “technical exquisite and sensitivity” Composers Forum), as well as her ability to “couple youthful vision with startling maturity”. (InDigest Magazine). Roberts’ work emphasizes expanding the technical and expressive possibilities of her instrument through close relationships with Written primarily during aofresidency at the MacDowell Colonyand (Peterborough, NH) 2016 innovative performers and composers her generation. Her passion for collaboration experimentation has ledOctober-December her to premiere hundreds of new works by both emerging and established artists.

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Roberts has appeared as a soloist and chamber musician across four continents, most notably as a member of the Mivos String Quartet, as well as Wet Ink Ensemble and Ensemble Signal. She performs regularly on major stages for new music such as the Lincoln Center Festival (NYC), Wien Modern (Austria), Lucerne Festival (Switzerland), Cervantino Festival (Mexico), Klang Festival Shanghai New Music Week (China), Darmstadt Internationalen Ferienkurse für Neue Aman,(Denmark), Cenk Ergün (2016) Musik (Germany), and Aldeburgh Music Festival (UK). Mariel has been featured as a chamber musician on recordings for While in its language of origin, Arabic, the word “aman” means “security,” in Turkish it Innova, Albany Records, New World Records, New Amsterdam, Carrier Records, New Focus, and Urtext Records.

is sometimes used to alert one of an imminent danger, as in, “Watch out!” Throughout the middle east, as well as in Greece, the word is often used in songs to express deep sorrow, Mariel’s premiere solo album, Nonextraneous Sounds, was released in September York’s of a hospital, treating children who, just minutes loss, and hopelessness. I think of this word whentoI critical watchacclaim a video showing2012. theNew bombing WQXR radio wrote, “By playing a program this well-curated, with this much confidence, precision and good old-fashioned ago, haveissurvived bombing.artistically speaking, as she is sounding an alarm. Listeners should muscle, Roberts not so muchanother “making a statement,” come running.”

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She holds degrees from both the Eastman School and the Manhattan School of Music, where she specialized in contemporary performance practice while studying with Alan Harris and Fred Sherry.

Spinner, George Lewis (2016) In the ancient Greek cultural system, three sister goddesses known as the Fates determined the course of human life. Lachesis, the Apportioner, determined the length of the thread, and thus of the life to which it was joined; Atropos, the Inevitable, determined its quality. First among the Fates was Clotho, the Spinner, who spins the thread of an individual life. Plato described the Fates as “daughters of Necessity” who sang in unison with the music of the Sirens...Lachesis singing the things that were, Clotho the things that are, and Atropos the things that are to be. According to some accounts, the Fates took defining roles in communities as well as in individual lives. Their ruthlessness became key to the Olympian revolution that overthrew the rule of the Titans, and it is said that they were present at the creation of humanity itself by the apostate Titan, Prometheus. In Plato’s account, the Fates become integral to the transmigration of souls after death, while in life, leaving the responsibility of choice to humans themselves. Thus, this work for Mariel Roberts did not have a title at its birth, but developed one in the course of my meditation on the materiality and poetics of her instrument, and the very perilous situation in which our world finds itself at the time of the work’s composition.

The Cartography of Time, Davíð Brynjar Franzson (2016) car·tog·ra·phy • the science or practice of drawing maps. of • expressing the relationship between a part and a whole. • expressing the relationship between a scale or measure and a value. time • the indefinite continued progress of existence and events in the past, present, and future regarded as a whole. ‘How is it possible that one should measure time? For the past cannot be measured, as it is gone by; and the future can’t be measured because it has not yet come. And the present can’t be measured for it has no extension.’ (Wittgenstein)

––––––––––––––––––––––––––––––––––––––––––––––––––––– “Trailblazing” cellist Mariel Roberts (Feast of Music) is widely recognized as a deeply dedicated interpreter of contemporary music. Recent performances have garnered praise for her “technical flair and exquisite sensitivity” (American Composers Forum), as well as her ability to “couple youthful vision with startling maturity”. (InDigest Magazine). Roberts’ work emphasizes expanding the technical and expressive possibilities of her instrument through close relationships with innovative performers and composers of her generation. Her passion for collaboration and experimentation has led her to premiere hundreds of new works by both emerging and established artists. Roberts has appeared as a soloist and chamber musician across four continents, most notably as a member of the Mivos String Quartet, as well as Wet Ink Ensemble and Ensemble Signal. She performs regularly on major stages for new music such as the Lincoln Center Festival (NYC), Wien Modern (Austria), Lucerne Festival (Switzerland), Cervantino Festival (Mexico), Klang Festival (Denmark), Shanghai New Music Week (China), Darmstadt Internationalen Ferienkurse für Neue Musik (Germany), and Aldeburgh Music Festival (UK). Mariel has been featured as a chamber musician on recordings for Innova, Albany Records, New World Records, New Amsterdam, Carrier Records, New Focus, and Urtext Records. Mariel’s premiere solo album, Nonextraneous Sounds, was released to critical acclaim in September 2012. New York’s WQXR radio wrote, “By playing a program this well-curated, with this much confidence, precision and good old-fashioned muscle, Roberts is not so much “making a statement,” artistically speaking, as she is sounding an alarm. Listeners should come running.” She holds degrees from both the Eastman School and the Manhattan School of Music, where she specialized in contemporary performance practice while studying with Alan Harris and Fred Sherry.

gretchen am spinnrade, Eric Wubbels with Eric Wubbels, Piano